REVIEW: Julius Caesar (Storyhouse, Chester)

The recent controversy surrounding last month's Shakespeare in the Park production of Julius Caesar in New York is the best example of why this 418-year-old play is still fiercely relevant today. In the American production, staged in Central Park, the setting was updated to modern day, and the character of Caesar was depicted as a suspiciously Donald Trump-like figure. And because it forms the backbone of Shakespeare's play, Caesar was duly assassinated, outraging some audience members who saw it as "political violence against the right".

It's impossible not to see the parallels between Shakespeare's 16th century political thriller and what's going on in the world in 2017. Caesar was a democratically elected but autocratic leader whose hubris and ambition bred discontent and, ultimately, rebellion within his ranks. Although we haven't seen much by way of betrayal among Trump's people so far, it's surely only a matter of time until the whispers of conspiracy begin and the knives are sharpened.

For Storyhouse's summer production of Julius Caesar, director Loveday Ingram has brought the setting right up to date too. This is a play for today, these times of political extremes and turmoil, despite its vintage. So out go the togas and amphitheatres and in come the sharp business suits and presidential lecterns. Modernising Julius Caesar may be the obvious thing to do (Robert Hastie did the same again with his recent Crucible Theatre production in Sheffield), but it gives the play fresh life, invigorating its message by telling it from a 21st century perspective. Christopher Wright's Caesar may not look like Donald Trump, but he's depicted very much in a presidential vein, complete with rally flags and banners of red, white and blue.

But Ingram has given this production an extra shot of immediacy by starting it in the venue's public foyer, with the audience members mingling with the coffee shop book readers and the restaurant diners. As the start time ticks by, the building is suddenly invaded by a raucous political rally of flag-waving, banner-clutching Caesar supporters who march into the fray to the beat of drums, shouting "Hail Caesar!" and celebrating their leader's triumphant victory and return from battle (ie, an election). The supporters intermingle with the audience, making the observers part of the action, each ticket-holder suddenly finding themselves "on stage" and part of the melee. It's truly exhilarating, even more so when a live video feed is projected onto a big screen to witness the arrival outside of Caesar himself!

Brutus (Richard Pepper, centre)
finishes off Caesar (Christopher Wright)

Wright is seen stepping out of his shiny black limo outside the doors of Storyhouse to be met with throngs of journalists and fans, and we see him glad-handing his supporters as he makes his way into the building, finally emerging live in the foyer to a rapturous reception. He picks his way through the crowd, smiling and gripping people by the hand and elbow with a Trump-like self-confidence, gives a little speech, then heads for the Senate, where the audience is encouraged to follow, finally taking their seats in the theatre itself. Amid all this chaos, soothsayer Anne Odeke gives her infamous warning about the Idea of March. It's a thrilling start to the play, using the entire building as a stage and putting the audience right at the heart of it. It's the last word in immersive theatre.

After this initial thrill, in which the play hits the ground running, it's unfortunate that the pace has to be dropped considerably while the audience files its way into the theatre and everybody finds their seat. There is activity on stage to entertain in the meantime, with members of Storyhouse's community chorus milling about the aisles remaining in character as rally supporters or political suits, but the lull means the production fails to capitalise on this early excitement.

Natalie Grady as Mark Antony

As per Storyhouse's policy of gender-balance, certain traditionally male roles are played by women - including Mark Antony, Lucius, Pindarus, Cinna - which normalises the play for modern eyes, but doesn't really add anything vital to the dynamic. Natalie Grady's Mark Antony is the biggest departure in this regard, and she turns in a solid, heartfelt performance, but if we are to read this Caesar as a Trump-a-like, then it takes a slightly greater leap to believe he would have a female best friend and confidante. The fact the two characters barely share stage time before the leader's death doesn't help cement the bond either.

Shouldering the heaviest weights are Richard Pepper as Brutus and Christopher Staines as Cassius, while James Weaver adds an amusing northern charm to Casca. Stephanie Hockley makes for a world-weary, put-upon Lucius, while Fred Lancaster makes the poet Cicero a foppish man about town.

Jess Curtis dresses the cast in plain dark suits and white shirts (all the better for showing off the blood!), and the Roman armies are decked out in Black Ops gear or camouflage. It's great to have a live musical accompaniment led by composer and musical director Tayo Akinbode, particularly in those opening moments where the musicians are part of the invading throng, while Loveday Ingram continues the immersiveness of that opening salvo by populating the seats and aisles with Caesar's jeering acolytes, first judgemental of Brutus and Mark Antony, then in rousing favour.

Brutus's army

The appearance of Caesar's ghost could perhaps be beefed up a little - when Christopher Wright drags his bloodied corpse across the stage, it is both alarming and very slightly silly, but when he merely walks on and stands at the back of the stage for a few moments, then walks off again, it feels under-powered and inconsequential. A snazzy bit of stage illusion or clever lighting might benefit the ghost's stage presence.

Storyhouse's Julius Caesar proves just how relevant Shakespeare can be all these hundreds of years later. Shakespeare's genius was in crafting a timeless political thriller out of a real-life tragedy which took place more than 600 years before the Bard's own time, but the power of this modern retelling is in making it directly relevant to these troubled times by putting the audience in the play and altering their viewpoint. Ingram's production makes each and every person watching feel a part of it, and by association, feel partly responsible.

Julius Caesar will be performed at Chester's Grosvenor Park Open Air Theatre from August 3rd, and it will be interesting to see how the invasive dynamic of the rally and Caesar's arrival at Storyhouse translates to a wide open space.

The stats
Writer: William Shakespeare
Director: Loveday Ingram
Cast: Natalie Grady (Mark Antony); Stephanie Hockley (Lucius); Olivia Hackland (Servant to Caesar); Emily Johnstone (Flavius; Artemidorus); Adam Keast (Marullus; Ligarius); Fred Lancaster (Cicero; Octavius); Alex McGonagle (Servant; Pindarus); Richard Pepper (Brutus); Thomas Richardson (Decius Brutus; Titinius); Vanessa Schofield (Cinna the conspirator); Meriel Scolfield (Calpurnia); Christopher Staines (Cassius); Bianca Stephens (Portia); James Weaver (Casca); Christopher Wright (Julius Caesar). Other roles played by the company. With thanks to the Community Chorus.
Performed at Storyhouse, Chester, June 23rd to July 30th, 2017; and at Grosvenor Open Air Theatre, Chester, August 3rd to 27th, 2017. Performance reviewed: June 24th, 2017.

Links
Julius Caesar on Storyhouse website (retrieved Jun 26 2017)